“变形”不是简单的身体和形式的转换问题,而是特定文化语法中各种意识形态之间共谋与分裂的产物。在审美人类学视野中,“变形”主要从两个方面凸显其与“美”的相关性:一、在以包含和排斥为潜在逻辑的制度性神圣化原则中,“美”被历史地生产与再生产出来;二、艺术通过审美变形使人们“看到”被遮蔽的现实生活关系,从而打破现代神话的种种幻觉。两种变形机制共同指向关于“美”如何作为一种被建构与能建构的存在的追问,并以此显现美学的现代性之维。 “Transmutation” is not simply a matter of body and form conversion, but a product of conspiracy and division between ideologies in a given cultural grammar. In the perspective of aesthetic anthropology, “Transmutation ” highlights its relevance to “beauty ” mainly in two aspects: First, in the principle of institutional sanctification that includes and excludes potential logic, “ ”Is historically produced and reproduced; secondly, art distorts the illusion of modern mythology by making people “ see ”the obscured real-life relationships. The two deformation mechanisms point together to question how “beauty ” is queried as a being constructed and constructed, and thus the dimension of modernity of aesthetics is revealed.